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M.A.
Punk was not only a music and fashion phenomenon of the 1970s, but the embodiment of non-conformity, discontent and a do-it-yourself culture that has continued to inspire the alternative youth of successive generations. One new cohort are the post-apartheid punks that provided the focus of this minor dissertation. The following three methods were used to collect qualitative data on South African punks: a qualitative content analysis, observations and semi-structured interviews. A search for the best conceptual tools with which to analyse this information found that previous usage of the concepts ‘subculture’ and ‘scene’ were useful, but inadequate. ‘Identity’ on the other hand, was capable of highlighting and examining the complexities of the punk phenomenon. The history of punk demonstrated that cross-cutting experiences, specific contexts, sub-categorisation and political motivations also contribute to the multiple meanings of punk. Similar influences were found at play in the South African case, but with a few crucial differences. Sub-categorisation was discussed in connection to a general and significant shift from old school to new school punk. The new school outlook is far more fun than the aggressive old school punk attitude of the 1970s. This change in punk culture provides an explanation for why it is that even politically aware punks, rarely make activism a priority. It may also explain why this small, optimistic, good humoured and creative ‘punk family’ do not express the fear and uncertainty normally found in punk collectives. The proudly South African context has also unexpectedly fostered the confidence of these mostly white, male and middle class punks.

Thesis (M.A.)--The University of North Carolina at Greensboro, 2009.
Directed by Rebecca G. Adams; submitted to the Dept. of Sociology. Title from PDF t.p. (viewed May 14, 2010). Includes bibliographical references (p. 116-120).

Using a distinctly and deliberately interdisciplinary approach to the subject of religion and spirituality as it presents itself within modern Western Societies today, this thesis argues that Straight Edge hardcore punk is a surrogate for religion. The term surrogate is used to denote the notion of a successor and a protector and provider of nourishment. It has been re-interpreted from Theodore Ziolkowski’s work on the same term in ‘Modes of Faith’, in which he examines surrogates for religion which emerged during the early part of the 20th century. An in-depth study, both theoretical and ethnographic in nature and presentation, of Straight Edge hardcore punk is provided to demonstrate that traditionally held categories of religion, secular, sacred and profane are being dismantled and re-built around ideas of authenticity, community, integrity, d.i.y and spirituality. Through the syncretic practices of the Straight Edge adherents they are de-essentialising religion and thus enabling us to re-consider the question of what religion is or could be. This thesis relies on theoretical ideas, interview quotes, informant quotes, researcher taken photographs, and interviewee created or utilised images, tattoos, graffiti and flyers. All of these are interspersed with song lyrics from various bands relevant to the time period under discussion and the themes being drawn out. Much like the adherents themselves, this thesis exists very much within the space of the ‘in-between’, which creates and reacts to necessary tensions throughout.